According to literary history, it wasn't until the 19th century that the poems of the troubadours were truly studied and read. The Histoire littéraire des troubadours by the scholar Jean Baptiste la Curne de Sainte-Palaye confined itself to disseminating a text that competed with the troubadours' poems: the texte-troubadours. This conclusion does not, however, prevent research from acknowledging the existence of some good early works on trobar by scholars of the Ancien Régime. But few links are established between these early studies and 19th century publications. This is a paradoxical situation, particularly in the case of Sainte-Palaye, since he was the originator of several manuscripts that early romanists used in their publications. From a philological and methodological point of view his work also deserves to be examined to put that of his successors into perspective, and to better understand the state of knowledge of the troubadours when they began their work. Poorly known, Sainte-Palaye's work on Occitan lyric suffers from contradictory judgments: while its supposed qualities are recognized thanks to what is known of his work on old French literature, we continue to write that Histoire littéraire is unsatisfactory when it comes to the transmission of poems. Noting this gap in the literary history of troubadour lyric during the 18th century, my study intends to explain the turning point that Sainte-Palaye's work may have represented in the history of the reception of troubadours. The study of the reception of troubadours is based on his manuscripts that include the manuscripts Paris, Arsenal 3091-3100 entitled Recueil des poésies des troubadours: modern chansonniers based on medieval copies, which served as a basis for his reading. I also incorporated into this corpus other codices reflecting the different stages of the scholar's work: the mss. Paris, Arsenal, 3281-3284, Traduction et analyse des poésies des Troubadours ; the mss. Paris, Richelieu, Moreau 1572-1581 Glossaire des troubadours, par La Curne de Sainte-Palaye. I attempted to provide some answers by inspecting the scholar's manuscript documents. I studied how his work was received, which then allowed me to accurately characterize his work and place it in the history of the reception of troubadours from the Renaissance to the early 19th century. My thesis is divided into three parts. The first provides a synthetic history of the reception of the troubadours’ poetry since the Renaissance. It provides an overview of the state of knowledge of the troubadours in the 18th century, before the scholar Sainte-Palaye began his work. I profiled several Provençalists who contributed to making the troubadours better known. This section highlights the paradoxical situation I already mentioned and clearly presents the manuscripts that are required to fill in the gaps in the literary history. The second part reports on my research into the reception of Sainte-Palaye himself. I defined the elements of my corpus that will be of most use and distinguished two types of text in Sainte-Palaye's chansonniers: the literary text in the center of the folios, the critical text in the margins and interlinear spaces which consist in the scholar's comments and annotations during the reading of the poems. Each chapter focuses on a different phase of the scholar's work: from philological work to the translation of the poems. This section is therefore multidisciplinary, as my chapters are all part of a different discipline corresponding to the category of critical text and margin commentary that I studied: philology, linguistics, stylistics, translation. The third part concerns the discipline of literary history, focusing on the posterity and reception of Sainte-Palaye's work after his death and during the 19th century. I summarized the progress made by the scholar and attempted to explain why it was not taken into account by the romanists such as Raynouard.